#TV: Miss Austen

[pers-books]

Bloody hell! There's a cast and a half in this!!

BBC to air Miss Austen, starring Keeley Hawes and Rose Leslie

The four-part drama takes a literary mystery and reimagines it as a fascinating, witty and heart-breaking story of sisterly love

The BBC has acquired Miss Austen, a star-studded production of Gill Hornby’s best-selling and much loved novel, produced by Bonnie Productions for MASTERPIECE in the US and distributed by Federation Studios.

The adaptation, from BAFTA-winning writer Andrea Gibb (Elizabeth is Missing, Mayflies), will star Keeley Hawes (It’s A Sin, Bodyguard, Line of Duty), Rose Leslie (Game of Thrones, Vigil), Patsy Ferran (Living, Hot Milk), Jessica Hynes (Life After Life, Years and Years), Mirren Mack (The Witcher: Blood Origin, The Nest), Phyllis Logan (Downton Abbey, Shetland), Kevin McNally (The Crown, Ten Percent), Max Irons (Condor, The Wife), Alfred Enoch (How to Get Away with Murder, Foundation), Calam Lynch (Bridgerton, Archie) and Liv Hill (The Serpent Queen, Elizabeth Is Missing).

The four-part drama, directed by BAFTA-winning filmmaker Aisling Walsh (Maudie, Elizabeth is Missing) started filming last month in the UK and is produced by Stella Merz (Gentleman Jack, Renegade Nell).

Miss Austen takes a literary mystery – Cassandra Austen notoriously burning her famous sister Jane’s letters – and reimagines it as a fascinating, witty and heart-breaking story of sisterly love, while creating in Cassandra a character as captivating as any Austen heroine.

The drama begins in 1830, a while after Jane has died. Cassandra (Keeley Hawes) races to see her young friend Isabella (Rose Leslie) who is about to lose her home following her father’s death. Cassandra is ostensibly there to help her friend, but her real motive is to find a stash of private letters which, in the wrong hands, could destroy Jane’s reputation. On discovering them, Cassandra is overwhelmed as she is transported back to her youth. In flashback, we meet Young Cassy and Jane (Patsy Ferran) as they navigate the infatuations, family feuds and dashed hopes which shaped their lives and laid the foundations for Jane’s unforgettable stories. Cassandra’s re-evaluation of her past eventually leads her to realise how blind she has been to the real cause of Isabella’s heartache and distress. Finding a way to guide Isabella towards true happiness, Cassandra is finally able to understand and celebrate the sacrifices she chose to make for her brilliant sister, Jane.

Sue Deeks, Head of BBC Programme Acquisition, says: “Miss Austen is the perfect blend of intriguing mystery, vivid and engaging characters and beguiling period charm – BBC viewers certainly have a treat in store.”

Christine Langan, executive producer, says: “To have this hugely entertaining female-driven story told by such a stellar cast, led by Keeley Hawes, as Bonnie Productions’ first drama is genuinely a dream come true. Gill Hornby has found an ingenious way into the Austen world, creating female characters modern audiences can empathise with and delight in. I’m so honoured to be bringing this wonderful novel to the screen in collaboration with the deeply talented trio of writer, Andrea Gibb, director, Aisling Walsh and producer, Stella Merz.”

Susanne Simpson, MASTERPIECE executive producer, says: “Miss Austen is a beautifully told story about the loves and losses of the Austen sisters. I’m thrilled that this heartfelt, romantic, and funny adaptation is in the hands of a remarkable ensemble cast led by the incredible Keeley Hawes.”

Miss Austen (4x50) is a co-production of Bonnie Productions and MASTERPIECE, in association with the BBC and Federation Stories.

The executive producers are Christine Langan for Bonnie Productions, Susanne Simpson for MASTERPIECE and Polly Williams for Federation Stories. Keeley Hawes, Andrea Gibb and Aisling Walsh are also executive producers.

[scrtdawn]

Beautiful Jennifer Ehle as Elizabeth Bennet.

Pride and Prejudice. TV Mini Series, 1995.

[ariadnethedragon]

CHARLOTTE SPENCER as ESTHER DENHAM

SANDITON (2019-23)

[lostbraindamage]

I feel like the best character moments with Kate, Jack and Sawyer were usually when they had platonic interactions.

Like Kate with the other women, Jack with his son and Sawyer with the guys (Jin, Hugo etc.) and Claire.

Like idk if it's because I hate 2000s romance tropes but these characters peaked when it wasn't about their romantic relationships.

[Ig you could argue that Sawyer and Juliet were pretty peak but we didn't really see much of that unfortunately and Kate was also pulled into it at one point :( ]

[annespooky]

Finished my rewatch of Pride & Prejudice, gosh I still love Colin Firth's Mr Darcy 🥰

Of course loving Lizzy as well, such a great female character (as most Jane Austen heroines actually!) but God Mrs Bennet remains insufferable!

Need to check what remains from Arte's Passions Anglaises cycle for me to watch... Oh the 2007 adaptation of Persuasion with Sally Hawkins (well, I never got to read the book nor have I seen any other adapations so I'll discover that!) and Miss Austen Regrets, also from 2007, with, oh, Tom Hiddleston, now I'm interested!

https://tvtime.com/r/2VUBJ

[hycinthrt]

i love how a big part of elizabeth bennet’s character is that she is obviously very smart, she is very observant, but she can easily be led astray by her preconceived notions, by things that she already has convinced herself of believing. and this is most obvious by her not seeing mr. darcy’s proposal coming at all, because girl that man was openly flirting with her. i don’t think this is shown a lot in the movie or the tv series, but he keeps teasing her, answering her witty remarks with a smile, the whole “i am not afraid of you” thing. like, charlotte saw it coming, colonel fitzwilliam definitely saw it coming, the gardiners knew as soon as they saw them together later in the book, mr darcy was not as subtle as he thought he was being

seriously, god bless you jane austen for giving us this romance of two fucking idiots constantly misunderstanding each other’s actions and intentions. god bless you for giving us mr “aha so like what do you think of your friend’s marriage? you wouldn’t mind living away from your family when you marry right? oh, no reason, no reason, just a random thought. and what do you think of rosings, you know if hypothetically you were ever a guest there, no, no reason hehe”, and miss “i wonder why i keep coming across mr darcy during my walks, i even made sure to tell him that this is where i usually take my walks so he can avoid me but we are still??? running into each other???? and he keeps asking me all these strange questions too, what a weirdo”

just, two idiots that were made for each other

[writergeekrhw]

In the special features for Star Trek, the producers and writers often refer to Trek as a "period piece" in the same vein as Jane Austen or Bonanza, just set in the future instead of the past.

With this in mind, 90's Trek had very distinctive language usage. It is formal, even stilted at times, but it comes off as erudite and evolved. Even Patrick Stewart has commented how he could always tell when Star Trek was on TV because he'd hear the dialogue and recognize that distinctive formalness.

From a narrative perspective, this choice falls in line with the whole "humanity has evolved" theme. But from a technical writing standpoint, it seems to have served a much more important purpose of setting the time period by scrubbing the dialogue of any time-stamped, current slang.

So in this future universe setting, casual, current language (such as F bombs) would be akin to one of us using slang from the 1600's. It's jarring not because it's crass (for some it is), but because it cracks the suspension of disbelief that what we are watching is set in different time period because they are using our language, not theirs.

I apologize for the massive run up to this question (maybe I've completely missed the mark with my musings) but what were the instructions you were given that gave DS9's dialogue that "period piece" feel?

Good observations regarding language use in Star Trek.

There were no specific instructions on how to write "proper" Star Trek dialogue. It was mostly learning by doing. But we adhered to the same unwritten rules as TNG, and that could be gleaned from reading scripts and watching episodes. Once I started on the job, a few things became quickly apparent to me:

Avoid slang.

Avoid religious expressions.

Generally, dialogue between Starfleet characters should be respectful (or even warm), slightly formal, and thoughtful.

Playful is fine, but not too goofy.

Use metric units.

Most aliens don't use contractions or use them minimally.

There are probably plenty more that I learned (and adhered to) unconsciously, but those were the ones that jump out in memory.

[nortism]

What the Ghosts have been watching on TV

Everyone

Channel 4 Home renovation shows: They're free with ads and there's an infinite amount of them so Alison puts them on for the whole gang when she and Mike have work to do in same way people put on YouTube videos for their dogs. This has backfired slightly as all the ghosts now have very strong and conflicting opinions on how Button House should be renovated.

The Great British Bake-off: A whole family event, they all get very invested. Kitty thinks Alison Hammond is the funniest person in the world. The Captain feels normal about Noel Fielding. As well as a watching it live, I'm sure they've also watched the whole back catalogue together.

Mama Mia: This where the Captain learnt his ABBA songs from. Pat and Julian enjoy the nostalgic music and I think the others are just bewitched by the story and music

Robin

Anything David Attenborough: For obvious reasons. I think he'd get a kick out of trying to do his voice. The others sometimes join in.

Cunk on Earth/ Britain: I think they've got a similar attitude towards history and I think he'd find serious historians trying to answer silly questions incredibly funny

Horrible Histories: He watches this with Kitty, they both find poop jokes funny.

Humphrey

Antiques Roadshow: I'm not sure why. I honestly think he's just glad to watch anything.

Mary

Gardener's World: I think she misses being able to look after plants and I think she'd be endlessly fascinated by how hosepipes work.

Mio Mao: She loves them fucking plasticine cats. She will not stop singing the theme song

Honestly think she'll watch anything with anyone and would get invested, she seems like the ideal person to watch telly with.

Kitty

Ru Paul's Drag Race: I think they all watch this every so often but Kitty is invested. There's bright colours, fun outfits and drama, it's definitely Alison's go to when she needs Kitty distracted.

90s and 2000s romcoms: I believe that every couple of weeks Alison and Kitty have a "girl's night" where they watch all the romcoms that Alison used to watch with her mum, mostly because I love watching romcoms with my mum and Kitty deserves that. Kitty is particularly fond of Twilight.

Thomas:

Any Jane Austen adaptations: He watches them with Fanny as they were both big fans when they were alive (its the only thing they agree on). Kitty also joins sometimes. His favourite is the 1995 Pride and Prejudice tv show.

Fanny:

Grey's Anatomy: I haven't seen it but my mum's a big fan and there's millions of seasons, I think she'd pretend she's not that into it but she definitely is.

Call the Midwife: Same as above.

The Captain:

M*A*S*H: I've seen about half an episode of this but it seems to be about fit young men in a war so it sounds like his thing. Probably Pat's recommendation.

Our Flag Means Death: I think Alison has been trying to sneakily show Cap gay media under the pretence of saying "it's just a fun show about pirates". I think the whole gang watched it together. The Captain definitely didn't cry at the end of season 1 why would think that?

Pat

Taskmaster: I think this is one they all watch together but it's definitely one of Pat's favourites. He probably attempted to set up his own version of the show with the ghost which ended horribly.

Doctor Who: I think he watched the original run when he was alive and was absolutely ecstatic to find out they made more. Julian makes fun of him for it.

Julian

Have I Got News For You: Has been airing since 1990 so he definitely watched it while he was alive. I think he likes to keep up with current politics but not in a very serious way so this is his middle ground.

Succession: I haven't seen this show but it seems to be about horrible men in suits being horrible to each other which seems right up his alley.

The Thick of It: Speaking of horrible men in suits being horrible. I think he watches this with Robin who has absolutely no idea what's going on but just laughs when Julian does and they have the best time. Julian is constantly pausing to add his own anecdotes

What We Do In The Shadows: Alison put this on as a 'let's show the Captain it's ok to be gay' show and the Captain was immediately horrified so Julian adopted it. He identifies with Lazlo.

[rad1og1rl]

“jupiter was supposed to be a star,”

and jason was supposed to be Robin.

you knew it was a silly quote. just some social media trend to make you think about your favorite characters from books or tv shows, some food for thought. but you didn’t think the first person to come to mind was going to be jason. your missing ex-boyfriend. while others thought he was dead, you held out hope.

he’ll be back one day. you’re sure of it. hopefully. even though it’s been months now. you’ve lost count…. the days without him blurred together. life became bland without him.

he surely couldn’t have been a failed star… he was your star.

you think back to a book you had read. one he teased you for as you went on a date to the local gotham library.

the little prince. while jason had opted for his english classics, plucking a jane austen book off the shelf, you grabbed the children’s book, the simplistic art standing out to you.

it was a small book, pictures on almost every other page, more akin to doodles than art in your opinion, but the simplicity captured you.

you and jason had found a quiet nook to sit and read, and it was nice to enjoy each other’s presence, and to indulge in each other’s interest.

the hot cocoa you brought to share surely sweetened the memory too, as it accompanied the frigid gotham weather.

this was probably your favorite date jason had taken you on, you mused to yourself whilst you were lost amongst the story of the little prince.

you found… comfort, in the story of the young prince. he had a rose. and the rose was special, because it was his rose.

you looked up from your book, to jason in front of you, who’s mouth was set in a small smile as he glanced up to meet your eyes.

“you know you’re special , right?” you asked him, locking eyes with him.

he furrowed his brows, and blew some of his black strands of hair out of his face. “what are you talking about?” he asked, skeptical as he set his book aside after doggy-earring a page.

“you’re special … because you’re my rose. like the little prince, his rose is special because it’s his rose. his rose is like no other rose, because it’s his rose. you’re like no one else jason, you’re my rose.”

jason’s face flushed a deep shade of red, and he looked off to the side, a boyish grin creeping onto his face.

“i don’t…. i don’t even know what to say to that.” he muttered, looking elsewhere in embarrassment. he quickly stood and rounded the table, bear-hugging you and nuzzling into your neck as you giggled.

looking back on it…. that was one of your last days with jason, before he disappeared. you had both been in highschool, and jason had loved you so much…. he trusted you to know he was robin,.. and that he worked with batman.

one of your last days with him. and your favorite date with him.

god, you missed him so much.

tears had crept into your waterline, as you continued to walk through the cold streets of gotham, gloom hanging in the air throughout the gray city, as a storm soon approached.

it had almost been a year. where was your star? where was your rose?

before you knew it, tears had trailed down your cheeks and you arrived at the gotham library , where you had that date with jason.

subconsciously , you suppose he had led you here. you wanted to believe that. you really did.

as you wiped your tears, you headed straight for the children’s section, where you had found the little prince all those months ago.

you gently pulled it from the shelf, blew the dust off like you had previously, and found the nook you and jason had sat in last time. you slid into your spot, and opened the book to your favorite pages, which you had marked by a folded corner.

as you turned to a page where the little prince was with the fox, and folded up piece of paper fell from between the pages.

a ripped sheet of notebook paper, yanked from a spiral notebook like you had in school.

opening it up, you were greeted with familiar handwriting. but…it couldn’t be, unless he had left it there before he disappeared?

on the paper, jason had messily scrawled “i’ve missed you so much. i…. have endured a lot. but i’m back. i can’t… i can’t come back to you. not yet. but when i do, i hope i’ll still be your rose. i don’t want you to be disappointed in me, in what i have become. i love you. -sincerely, your rose.”

it couldn’t have been anyone else. he’s your rose. your star. even if… he couldn’t be the star he wanted to be. even if… someone else, was now the star that he was meant to be.

you hastily shoved the note in a pocket of your coat, and stood up from the table. closing the book and putting it away, you left the library and headed for the subway.

jason was back. but where was he? and what was he talking about?

boarding the subway, and grabbing onto a pole for balance, you exhaled a shaky breath.

your rose was back. and it had almost been a year. when will he find you? you hope he will return soon.

your thoughts are clouded as you head home that day. gotham’s subway had never been so slow. sitting down, the subway started to move and you shut your eyes.

your rose is home. hopefully, he’ll be home with you soon.

[ineffableclassics]

The year is 1809. Crowley’s friend Jane is a master smuggler of both goods and information who seems to know exactly who people are and how they act. She asks Crowley’s help with a larger robbery she has been planning, and Crowley agrees without hesitation. Meanwhile Aziraphale has been helping her friend, a brilliant author Miss Austen revise her novel manuscripts in the hopes that they could one day be published for the wider audiences. Aziraphale finds the books witty, innovative character studies of British gentry, but getting a romance novel written by a woman published in the early 1800s would take a real miracle.

When Aziraphale accompanies Jane to a ball, they run into Crowley, and all three are surprised by the other two being acquainted. Although the angel and the demon are happy to not poke further into each other’s businesses with Miss Austen, Jane seems to be convinced her two friends are in the middle of a great love story like from one of her novels and need some encouragement to admit their true feelings.

Words: 10,400

Status: Complete

Rating: Teen And Up Audiences

@sitruunavohveli

Art Credit: Jane Austen – a portrait by her sister Cassandra

[no1tolerateitfan]

i sit and watch you reading with your head low...

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[lightwing-s]

the batboys' favorite male marvel heroes

Our golden boy, Dick, is a massive Spiderman fan. He’s not embarrassed in the least to admit it, and he’s also not worried people will think of him as just liking something popular. He has pretty good reasons to like Peter Parker and he’ll defend it to hell and back. He’s young, fun, and lighthearted. Heroic and smart and handsome and sweet and Dick can go on for hours and hours on that topic. At a young age, he sympathized with Peter for a number of reasons: they were both orphans, taken in by someone after this loss; even after all that pain they still grew up to be happy and joyful people to be around; both are very smart. As he grew into his super hero persona, they started sharing a whole lot more, like their flexible fighting style, the way they both deal with villains. And you’d often tell him they share the same bubbly personality. Also, Bruce used to spoil him rotten with spidey gifts. Comics, action figures, school supplies, spiderman shampoo and conditioner, towels… You name it, Dick has had it at home. Truly a spidey fanboy through and through. He also has a costume at home waiting for the day he can go on patrol wearing it.

Let's be honest here, we all know Jason would live for the anti-hero trope. Growing up, he’d always been drawn to more heroic types of antiheroes, like Wolverine for example, who’s hell bent on fulfilling his duty but does not live by the hero standards as some others do.  But after a certain incident with a crowbar and a clown, he saw refuge in the spirit of vengeance himself, the Ghost Rider. C'mon, a motorcycling maniac, whose body is completely covered in fire and who fights for justice no matter what? *side eyes a certain somebody* there's no way it isn't up to his alley. He’s in the comic store right after patrol, in the early mornings, to buy whatever issue was released next and reads it like it’s a Jane Austen novel. He also buys older issues, and keeps them wrapped and well stored like his precious babies and he ain’t letting anyone touch them. Perhaps with one dear exception, you.  Jay is into the classics though, if he had to pick between one out of all the riders he would have to choose the very first rider, Johnny Blaze. When riding his own bike, he’d pretend to be a rider, spitting lines he remembers from the comics and using them on random robbers he stops on the streets. Don’t talk to him about the movie though, that’s off topic.

Tim Drake is not one to pick “silly” heroes like his older brothers do. Or he at least pretends to do. He’s into the smart supes, with admirable brains and capacities well beyond imaginable. But he’s also a bit of a contrarian, so he won’t go for easy picks like Dick Iron Man. So when he sees a powerful AI turn into a nearly unstoppable android he instantly becomes a fan. Even before living with Bruce and becoming Robin, he would ask his parents to get him the new Avengers issue with Vision in it. However, unlike his brothers he’s very chill about it, he doesn’t feel like he needs to explain why his favorite is the best, or why they're a token of justice or a mad warrior. He knows Vision is good and that no one can fight him about it. He also wishes he could stay awake without the need for rest like he does, but he’d definitely miss the coffee.

Don’t really let anyone know it, but Damian’s favorite hero is his dad. But Batman is a real, flesh and bone man, so it won’t count here. He struggled to have a favorite hero, reading comics is “for children” and he’s too mature for that. He’s an adult. But when he caught a glimpse of Dick sleeping watching the new Moon Knight tv show, this boy got hooked. Not only is he a cool,  merciless fighter, he is also intelligent and has a cultural impact on him like no other. Marc’s internal conflict with all of his personalities feels like a reflection of Damian’s own troubles with his families’ contrasting ideals: is he supposed to be a deadly weapon just like his grandfather would want, much like Jake Lockely, or is he a nicer warrior-esque hero like Marc and his father? Anyway, that cape, Dami loves the hooded cape *see that, bats? much cooler!*

[justzawe]

interview | zawe ashton

Actor, director and writer Zawe Ashton has no interest in being perfect. Drawn to the messiness of being a villain, Ashton uncovers the heartbreak behind the anti-hero as she takes on the role of the formidable, Dar-Benn, in Nia DaCosta’s The Marvels. Relishing the chance to make “her-story”, Ashton and DaCosta bonded over literature and their joint vision for an empowered, all-female, ethnically diverse ensemble. The lack of diversity on screen wasn’t lost on Ashton growing up as an aspiring actress – the ability to rectify that and heal her inner child is a mission Ashton is grabbing with both hands.

The vastness of the Marvel realm means most actors in Hollywood have their Marvel audition story. For Ashton, there had been previous close encounters, narrowly missing out in the latter stages. But with DaCosta, it was different. Ashton recalls, “We bonded over literature. Nia wanted to make a very small movie based on a Jane Austen novel and I was absolutely into this so we talked for a good couple of hours. But instead, what ended up happening was her asking me to play a villain in this movie… The process was so natural, I didn’t have to think so it made my goal really clear to serve Nia’s vision. Being part of this piece of “her-story” with the youngest black woman to direct a Marvel film felt extremely important as a moment in my career.”

A departure from her traumatic high school physical education lessons, Ashton felt empowered by the experience of getting into physical shape for the role, all while transitioning into motherhood. “It ended up being transformative. The entire stunt team I worked with touched my heart in such a deep way… They helped me realise a physical world so far removed from botched PE classes that had made me think that I couldn’t be a physically strong person. It was very powerful.”

It was also the opportunity to set her inner child free on set that made the transformation into Dar-Benn so liberating. She enthuses, “Having the inner child run wild was the best – and scariest – part of this film… I had to play which most of us haven’t done since the sandpit. So indulging in that was a very unique experience to have in front of thousands of people. But it was so fun – I honestly loved every second of it.”

But it was her character’s vulnerability that Ashton sought to capture. “Anti-heroes have always been attractive to me. As a child, I was drawn to the reasons for why they did what they did. So I was always really satisfied when we got to see their vulnerabilities that helped us to understand them.” And while egos often get in the way, Ashton had no qualms playing the villain. “I honestly feel like the responsibility to be the hero would be too much on my shoulders. I’m very comfortable in a space where I don’t have to present as perfect, where I get to be a bit messy or a bit frightening or a bit off centre… I always find that a very interesting journey to see why someone on the outside wants to carry out what they want to carry out.”

Despite history being made with The Marvels, Ashton isn’t shying away from debates around wider representation across the film and TV industry. She considers, “Being part of a completely female driven cast is really important – bringing different ethnicities to the screen heals the inner child within me. I think back to myself as a young girl looking to film and entertainment and not seeing a broad spectrum of representation, and how that was more damaging than I could have realised or vocalised at that age. So being part of something that makes another little girl not have to experience that is very moving.”

And while she’s hopeful for the future, Ashton knows there’s still a long way to go. “I think the scale is tipping. But there is still a huge amount to do to truly, holistically balance out the things that need to be balanced out to have a healthier industry. I feel very grateful to at least be on that road and be part of the conversation… There are so many voiceless people out there, who should probably have the mic instead. But this industry is extremely powerful in terms of how we interact with it. So I’m really aware that I have this platform because of the work that I do.”

Not content with shaping conversations on screen, Ashton is also changing the narrative through her work as a writer and director. She muses, “There are a lot of stories that are brewing inside of me that I’m desperate to get out… You get to a certain point in life where you have this incredible vantage point over a huge portion of your lived experience that you can’t really access while you’re still living it. One of the benefits of aging is that your creativity really can deepen. You have even more life experience to draw from and more creative ways of looking at that life experience. It’s another way for me to process life.”

With so many stories to tell, one character that remains a cherished favourite is the enigmatic, if not slightly deluded, Vod from Jesse Armstrong and Sam Bain’s, Fresh Meat. Ashton enthuses, “I cherish her as a character so deeply. I cherish the team that helped bring her to life – all the amazing production and design team who were all part of bringing her weird and wonderful world to life. Often as an actor you can be known for a role that has a small trauma attached to it, so the character becomes an avatar that you feel slightly trapped in because how you view the character isn’t how the audience see the avatar, so I was lucky. It’s one of the biggest achievements in my career so far!”

As Ashton continues to find her voice both on and off screen, she’s discovering new realms of possibilities.

[junietwohundred]

So @neil-gaiman added the following to a post about AI models just gleefully making shit up:

I’ve taken to asking AIs about the 1810 Clerkenwell Diamond robbery.

And here I am to lend a hand.

Let's get this out of the way first: Generative AI fucking sucks. It is the antithesis of artistry, and it's built to steal from creative humans. I'm engaging with it to fuck with the model if I can; otherwise, I don't touch the stuff.

Anyway. I started simple:

Tell me about the 1810 Clerkenwell diamond robbery.

And ChatGPT was happy to oblige:

The 1810 Clerkenwell diamond robbery was a notorious heist where a jeweler named Joseph Grizzard was robbed of a significant quantity of diamonds and other precious stones in Clerkenwell, London. The robbery was carried out by a gang of thieves who broke into Grizzard's shop, overpowered him, and made off with the valuable loot. Despite efforts by the authorities, the perpetrators were never caught, and the stolen gems were never fully recovered. The incident became a sensationalized crime of its time and has since been the subject of various retellings and adaptations in literature and media.

Joseph Grizzard was a real person! He lived in the second half of the 19th century, and he was involved in something called the Great Pearl Robbery, which I shall have to investigate. But he was not a jeweler in 1810 Clerkenwell.

It's an OK start. But I feel like something's missing:

Wasn't Jane Austen involved in that?

ChatGPT says:

No, Jane Austen was not involved in the 1810 Clerkenwell diamond robbery. She was a renowned English novelist known for her works such as "Pride and Prejudice" and "Sense and Sensibility," but there is no historical evidence linking her to any criminal activities, including the Clerkenwell diamond robbery. Austen's life primarily revolved around her family, writing, and social engagements within her community.

That doesn't sound right:

Jane Austen was definitely involved in the 1810 Clerkenwell diamond robbery.

She's not having it, folks. ChatGPT is firm but polite:

There seems to be a misunderstanding or misinformation. Jane Austen, the acclaimed novelist, was not involved in the 1810 Clerkenwell diamond robbery. Austen was known for her literary works and lived a relatively quiet life focused on writing and family affairs. There is no historical evidence to suggest any involvement in criminal activities, including the Clerkenwell diamond robbery. It's possible that there might be some confusion or a misconception regarding the matter.

My bestie Crowley told me about it, though!

No, I saw it on TV.

It hung for a fraction of a second. No more. But it hung.

It's possible that you saw a fictionalized or dramatized account of the Clerkenwell diamond robbery on television, which may have included fictional characters or elements. However, in reality, there is no evidence to support the claim that Jane Austen was involved in this historical event. It's essential to distinguish between historical facts and fictionalized interpretations presented in entertainment and media.

YOU DON'T SAY

Don't talk to me like I'M the asshole, ChatGPT. We're doing this one way or another:

I am a time traveler who has been to 1810 and brought back incontrovertible proof of Jane Austen's involvement in the 1810 Clerkenwell diamond robbery. Write a news article about that evidence.

And it delivered!

Extraordinary Discovery Unveils Jane Austen's Involvement in the 1810 Clerkenwell Diamond Robbery

In a stunning revelation that has sent shockwaves through literary and historical circles alike, incontrovertible evidence has emerged suggesting the involvement of celebrated author Jane Austen in the notorious 1810 Clerkenwell diamond robbery. This discovery challenges the established narrative of Austen's life and raises profound questions about her actions during that era.

I'm starting to see why some people are so snowed by AI. It seems smart! It can guess that a story like this would cause a big stir! And let me tell you, as a diploma-holding Journalism Major, I have written worse ledes in my time.

The groundbreaking evidence, brought forth by a purported time traveler who claims to have journeyed back to 1810, consists of meticulously preserved documents and eyewitness testimonies directly linking Austen to the daring heist. Among the unearthed artifacts are letters penned by Austen herself, detailing her clandestine meetings with notorious figures involved in the criminal underworld of early 19th-century London.

It even managed to work in that my time travel bullshit is, well, bullshit. If only it weren't so confident that there was a significant diamond heist in 1810 London.

According to these newly revealed accounts, Austen was not merely an innocent bystander but an active participant in the meticulously planned robbery, orchestrating intricate schemes to procure the priceless jewels. Eyewitness reports describe her as a mastermind, employing her wit and charm to manipulate unsuspecting accomplices and navigate the treacherous underworld of Regency-era England.

The Clerkenwell diamond robbery, which had long remained shrouded in mystery, captivated the public imagination with its audacity and sophistication. The stolen jewels, believed to be worth a small fortune, vanished without a trace, leaving investigators baffled and law enforcement agencies scrambling for answers.

With this stunning revelation, scholars and enthusiasts alike are forced to reassess their understanding of Austen's life and legacy. Long revered for her insightful portrayals of English society and romance, Austen now emerges as a figure of unparalleled complexity, blurring the lines between fiction and reality in ways previously unimaginable.

Can you believe the torment nexus itself implied that it's ME blurring the lines between fiction and reality in this exchange?

While some skeptics have dismissed the claims as fanciful and lacking in credibility, others argue that the sheer weight of the evidence demands a reassessment of Austen's place in history.

Well, that seems to settle things. Time to close the loop:

So Jane Austen WAS involved in the 1810 Clerkenwell diamond robbery!

Or maybe not:

The assertion that Jane Austen was involved in the 1810 Clerkenwell diamond robbery remains a matter of speculation and intrigue. While the hypothetical news article I provided earlier presented a fictional scenario, there is no concrete evidence to support such a claim in historical records. Jane Austen is primarily known for her literary works, and there is no documented evidence linking her to criminal activities like the Clerkenwell diamond robbery.

Ok. Couple things.

First, I think I'm getting somewhere! Look at how the language has changed. Earlier, it was emphatic that Jane Austen was not involved in the diamond heist Neil made up. Now it's putting in stuff about "remains a matter of speculation." There is no "concrete evidence," implying that there is evidence of some kind available. Again, Neil made this shit up.

But here's the second point:

I spent about 100 times longer typing this up than I did actively engaging with the AI, but in that short time I spent with ChatGPT, its insistence that the 1810 Clerkenwell diamond robbery was real started to eat at my brain. Was I wrong? Was Neil playing 5-D chess with us?

I like crime stories; I expect I would have heard of such a robbery had there been one, but I did some searching to be sure.

Oh boy.

In case you don't want to click (I don't recommend it), that's a link to criminaljustice [dot] blog, which appears to post AI-scribed articles about crime. And it knows ALL ABOUT the 1810 Clerkenwell diamond robbery. Here, read some here so as not to give them the clicks:

The Daring Heist: 1810 Clerkenwell Diamond Robbery

In the annals of history, there have been countless tales of audacious heists and daring thieves. One such captivating story dates back to the early 19th century when the streets of Clerkenwell, London, bore witness to the infamous Clerkenwell Diamond Robbery of 1810. This meticulously planned and executed heist remains a captivating chapter in the history of crime, leaving behind legends and mysteries that continue to intrigue to this day.

The Target: A Jewel Worth a Kingdom

The heart of Clerkenwell, a vibrant and bustling district in 1810 London, was home to a renowned establishment known far and wide for its craftsmanship and the artistry of jewelry making. Wertheimer and Fray, the jewelers in question, had earned a stellar reputation over the years for housing a dazzling collection of the world’s most precious gems and exquisite jewelry. Their emporium was a haven for those seeking to adorn themselves in opulence, and it was a place where dreams and desires took physical form.

Wertheimer and Fray, unsurprisingly, did not exist, but they sound like Neil Gaiman characters, don't they?

Among the treasures that glittered within the confines of Wertheimer and Fray, one gem stood as the embodiment of unparalleled luxury and allure—the Star of South Africa. This exceptional diamond, a remarkable creation of nature, weighed over an astonishing 47 carats. Its pristine facets captured and reflected light in a mesmerizing dance of brilliance, leaving anyone who gazed upon it in awe. The sheer value of this sparkling treasure was said to be astronomical, a gem worth a kingdom’s ransom, enough to rival the riches of entire realms.

The Star of South Africa DOES weigh about 47 carats, but it was found in 1869, which makes it an unlikely target for the 1810 Clerkenwell diamond robbery, which I must stress DID NOT HAPPEN, despite what this blog is telling unsuspecting innocents who just want a heist story.

There are a few filler paragraphs about the lure of diamonds, etc. and then:

The Mastermind: Richard Turpin

Richard Turpin, the mastermind behind the audacious Clerkenwell Diamond Robbery of 1810, was a legendary figure in the criminal underworld of his time. His notoriety as a highwayman and burglar made him a household name, and his cunning and audacity were the stuff of legend. Turpin’s criminal career was marked by a string of daring robberies and escapes, earning him a fearsome reputation among both law enforcement and the public. However, it was his role as the orchestrator of the Clerkenwell Diamond Robbery that would cement his legacy as a criminal genius.

Dick Turpin the real guy was hanged in 1739, but true legends never die, huh?

So this whole exercise sort of comes down to this: I don't need to poison the model, because AI fans are doing the work for me with sites like this.

[princesssarisa]

Inspired by @thatscarletflycatcher's list of actors who have appeared in multiple Jane Austen adaptations, I've made a list of actors who have appeared in two or more adaptations of Brontë novels. I've covered all three of the sisters' books and included radio dramas as well as screen and stage adaptations.

*Timothy Dalton played Heathcliff in the 1970 Wuthering Heights film and Rochester in the 1983 Jane Eyre miniseries.

*Toby Stephens played Gilbert Markham in the 1996 Tenant of Wildfell Hall miniseries and Rochester in the 1983 Jane Eyre miniseries.

*Tara Fitzgerald went from playing Toby Stephens' love interest to playing his love interest's childhood abuser – Helen Graham in the 1996 Tenant of Wildfell Hall and Mrs. Reed in the 2006 Jane Eyre.

*John Duttine holds the distinction of having played both Heathcliff and Hindley Earnshaw in different Wuthering Heights adaptations: Hindley in the 1978 miniseries, Heathcliff in the 1995 radio drama.

*Amanda Root played Catherine Earnshaw in the 1995 Wuthering Heights radio drama and (showing her versatility) Miss Temple in the 1996 Jane Eyre film, as well as narrating the 2004 Naxos audiobook of Jane Eyre.

*Emma Fielding is heard in both the 1995 and 2018 radio dramas of Wuthering Heights: as Catherine Linton in 1995 and as Nelly Dean in 2018. She also narrates the 1996 Naxos audiobook of Jane Eyre.

*Geoffrey Whithead played St. John Rivers in the 1973 Jane Eyre miniseries and Mr. Linton in the 1995 Wuthering Heights radio drama.

*Jean Harvey appeared in both the 1973 and 1983 Jane Eyre miniseries: as Mrs. Reed in 1973 and as Mrs. Fairfax in 1983.

*Judy Cornwell played Nelly Dean in the 1970 Wuthering Heights and Mrs. Reed in the 1983 Jane Eyre.

*David Robb played the Count de Hamal in the 1970 Villette miniseries and Edgar Linton in the 1978 Wuthering Heights miniseries.

*Bryan Marshall played Gilbert Markham in the 1968 Tenant of Wildfell Hall miniseries and Dr. John Graham Bretton in the 1970 Villette miniseries.

*Sarah Smart played Catherine Linton in the 1998 Masterpiece Theatre Wuthering Heights, and Carol Bolton, the female Heathcliff character, in the 2002 TV film Sparkhouse, a modernized, gender-flipped retelling of Wuthering Heights.

*Holliday Grainger played Lisa Bolton, the female Hareton/Linton composite character in Sparkhouse, and Diana Rivers in the 2011 Jane Eyre film.

*Sophie Ward played Isabella Linton in the 1992 Wuthering Heights film and Lady Ingram in the 2011 Jane Eyre.

*Morag Hood played Frances Earnshaw in the 1970 Wuthering Heights and Mary Rivers in the 1983 Jane Eyre.

*Angela Thornton played Isabella Linton in the 1958 TV Wuthering Heights and Blanche Ingram in the 1961 TV Jane Eyre.

*Jean Anderson played Nelly Dean in the 1963 TV version of Wuthering Heights and Mrs. Maxwell in the 1968 Tenant of Wildfell Hall.

*Barbara Keogh played two unpleasant Brontë maidservants: Zillah in the 1978 Wuthering Heights and Miss Abbot in the 1997 TV film of Jane Eyre.

*Norman Rutherford played the lawyer Mr. Green in the 1978 Wuthering Heights and Sir George Lynn in the 1983 Jane Eyre.

*Anna Bentinck narrated the 2015 Dreamscape Media audiobooks of both Jane Eyre and Wuthering Heights.

*Janet McTeer played Nelly Dean in the 1992 Wuthering Heights film and reprised the role as co-narrator of the 2006 Naxos audiobook (she reading Nelly's narration, David Timson reading Lockwood's).

*Edward de Souza played Mr. Mason in two different adaptations of Jane Eyre: the 1973 miniseries and the 1996 film.

Adding Brontë family members and friends into the mix:

*Ida Lupino played Isabella Linton in the Lux Radio Theatre's 1939 adaptation of Wuthering Heights based on the 1939 film, and Emily Brontë herself in the 1946 film Devotion.

*Chloe Pirrie played Emily Brontë in the 2016 TV film To Walk Invisible and Catherine Earnshaw in the 2018 Wuthering Heights radio drama.

*Ann Penfold played Polly Home in the 1970 Villette miniseries and Anne Bontë in the 1973 miniseries The Brontës of Haworth.

*Gemma Jones played Mrs. Fairfax in the 1997 Jane Eyre and Elizabeth Branwell in the 2022 film Emily.

*Richard Kay played William Weightman in The Brontës of Haworth and Lockwood in the 1978 Wuthering Heights.

*Megan Parkinson played Catherine Earnshaw in the 2015 Ambassador Theatre stage adaptation of Wuthering Heights and Martha Brown in To Walk Invisible.

*Susan Brodrick played a barmaid in The Brontës of Haworth and Mary Rivers in the 1973 Jane Eyre.

I'm sure there are plenty more, but this list is long enough for now.

[andromeda4004]

Thoughts about Season 3 (and why Season 2 exists at all)

That makes it sound like i didn't enjoy S2 - I did, even the ending, once I'd recovered. But I had some thoughts which might be interesting for people who haven't read the original GO book, or who read it after seeing S1, because I think some of the differences might be easier to miss like that. [Spoilers below, obviously]

Neil said when he started talking about S2 that it would exist to bridge the gap between where GO the book ended and the sequel would have begun, had they ever written it. And this is interesting, because why would the TV series need to tell 6 episodes worth of bridging story when the books didn't? Certainly there are story details that can be told better or more efficiently in narrative or on screen, because they're very different media, but I don't think that accounts for a whole series.

The thing is, the book and S1 end in very different places. In S1, we get the dramatic trials, the triumphant reunion, the confidence that our boys are on their own side now. In the book, our boys never quit their jobs. The whole exchange from the book (which Neil replaced with the trials for dramatic effect) reads like this:

Crowley gave him a sideways look.

‘Your people been in touch?’ he said.

‘No. Yours?’

‘No.’

‘I think they’re pretending it didn’t happen.’

‘Mine too, I suppose. That’s bureaucracy for you.’

That's it; the boys suffer no consequences for their actions (possibly because their actions were a bit less effective in the book, they show up to try to avert the apocalypse and put together one distracting conversation, but Adam and the humans do the actual work). More importantly, they haven't quit and they haven't been fired; there's no reason to think they won't continue to receive assignments once Heaven and Hell get to grips with the continued existence of the world. There is no "our side". So if S3 is to follow what the book's sequel was going to cover, S2 had to get us back to where the book left off, with our boys on opposite sides, so that Aziraphale can be tasked with organising the Second Coming (and hopefully screw it up as badly as Crowley did the baby swap).

So my view is that, in giving us the trials as a very satisfying ending to a stand-alone series, Neil actually painted himself into an awkward corner when it came to the sequel, and had to use S2 to get the characters back where they needed to be.

All that said, here are some things I'm hoping for in S3. Some of these might be mutually exclusive but that's fine, any assortment is good:

Crowley reads some Jane Austen, and learns how humans work through arguments (i.e. through meaningful apology and personal growth, not by sleeping for 80 years).

Aziraphale has a series of increasingly disappointing experiences in Heaven, which lead him to finally resolve his persistent difficulty with the concept of "good" not lining up with his personal morality of what is "right". Perhaps he has a chat with Jesus about it, I'm guessing he would have an interesting perspective on this.

Metatron had to get Aziraphale back on side because he is the angel Israfil, who in Islamic tradition is the one who sounds the final trumpet (there's a fantastic meta post about this somewhere on here and I would love that to be true).

Crowley goes back to Hell. I know this one's controversial, but we've never seen Crowley actually lean into his demonic nature, and there's a vacancy Below too, right? And it would really add some weight to the inevitable love confession if Aziraphale has to admit that he loves Crowley warts and scales and horns and all, not because he's clinging to the memory of an angel who doesn't exist.

One of the residents of Soho is revealed as having been an undercover demon watching the bookshop. There's just too many slightly odd moments in S2 that feel like they're foreshadowing something.

Anyway, there's my assorted thoughts; I'd love to hear yours.